The sound and verb

Abstract

A dialogue between different arts has always existed as a type of mutual nostalgia, a kind of obstinate desire to meet. These attempts have left rests of tensions and ruptures. Nevertheless, we have witnessed moments of strong condensation of diverse energies that have given rise to very unique phenomena to the extent that the trajectories of the arts have been altered. This primal passion reveals the need to trespass the borders created by the geodesics of the arts in order to combine poetic and sound vibrations, giving place to totally new creations that hide either a parallelism, an analogy or even a denial of their equivalents. The title of this paper leads us to the aforementioned phenomenon. The vicissitudes of the symphonic poem are kept back, so that we can approach electronic poetry in order to establish a state of place, the relations between music and poetry, using -as coordinates of this journey- Mazeppa (poem by Victor Hugue and symphonic poem by Franz Liszt), The transfigured night (poem by Richard Dehmel and symphonic poem by Arnold Schoemberg), and Don Quijote (symphonic poem by Richard Strauss, based on Cervantes’ character). This article will also approach one of the most recent relations of this type, analyzing the result of the fruitful trinity between architect Le Corbusier, assisted by composers Iannis Xenakis and Edgar Varèse with their electronic poem.